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Sun, 11 Nov 2018 06:37:33 +0000en-UShourly1https://wordpress.org/?v=4.9.8Guitar Riffs or Pick Exercises?http://vancouverguitarlessons.net/2018/11/11/guitar-riffs-or-pick-exercises/
http://vancouverguitarlessons.net/2018/11/11/guitar-riffs-or-pick-exercises/#respondSun, 11 Nov 2018 06:37:33 +0000http://vancouverguitarlessons.net/?p=3258Guitar Riffs or Pick Exercises Hey everyone, this week we tackle some really neat intros to songs. These riffs not only sound great, but they are great exercises to master alternate picking. Let’s get started. Figure 1 is from the amazing Rush song “Spirit of The Radio.” In this riff we have a combination[...]

Hey everyone, this week we tackle some really neat intros to songs. These riffs not only sound great, but they are great exercises to master alternate picking. Let’s get started.

Figure 1 is from the amazing Rush song “Spirit of The Radio.”

In this riff we have a combination of pull offs and picked notes. The key here is to keep the pick moving, even when a pull off is occuring. This makes for a more even sound.

Figure 2 is a riff made famous (Wasted Years) by Iron Maiden and written by their amazing guitarist Adrian Smith. This riff is great for syncronizing hands and learning the E natural minor scale on a single string. People always think of scales as having to be in a position but a great way to gain more mastery of the guitar is to practice scales in a linear fashion (on a single string) as well as in position. Just keep the pick moving the entire time, down, up, and you are good to go.

Figure 3 is from ACDC and it is called “Thunderstruck.” This one starts on an upstroke. Seems counter intuitive, but the reality of 16 note patterns is that you want the stronger sounding attack to be on the beats. Since this riff starts with a pickup on the 4th 16th note of bar 4 (which is a weak point), we pick that note with an upstroke. Once the downbeat of 1 happens, we are back to alternate picking for the duration of the riff.

I hope you enjoyed this lesson, check back soon for more free lessons!

Hey everyone, today we are tackling 5 Awesome Van Halen Endings for guitar. Video portion of lesson is at the bottom.

Fig. 1 Ice Cream Man

First up we have the ending to the classic blues “Ice Cream Man.” In this excerpt Eddie is doing a well worn blues cliche ending that utilizes a descending line from the root down to the 5th of the key and then an F9 chord is sounded before the E9 and then the chaos ensues. The F9 is known as a tritone substitution (augmented flat 6 chord for those theory geeks out there) and is used heavily in blues based music.

The first part of the phrase that follows this is based off of an E major type scale (probably mixolydian) but it ends up just being a shape that Eddie moves across the fretboard known as a “symmetrical shape” which Eddie employs in his playing often. Check out this lesson I did a while back on Eddie’s use of symmetrical patterns for a deeper explanation of how to use this technique http://vancouverguitarlessons.net/2017/04/15/11-hacks-play-like-eddie-van-halen-part-2/

Fig. 2 You Really Got Me

This ending starts with Van Halen borrowing the ending to The Who’s “Won’t Get Fooled Again” but Eddie spices it up on the last chord doing an E7#9 chord to take it to another level. The licks Eddie is using in the first 2/3 of the phrase are from E Dorian mode but then he breaks into E mixolydian in the sliding portion of the lick. The hardest part of the lick is the notes on the D and G strings in the fast portion of the lick. I would recommend just working on the 3 note pull off on the G string then the next 3 notes, over and over. Keep the picking pattern the same (I pick the adjacent notes on the D to G riff “down-up-down.” This will make it easier to gain speed.

Fig. 4 Unchained

The ending to this Van Halen classic is based on D blues/mixolydian scale. Eddie loves to mix scales when he solos and this is a good example of that. He clicks on an octave pedal once the sliding section begins.

Fig. 5 Big Fat Money

Eddie pulls out a few more goodies from his bag of tricks here employing two hand tapping, tap harmonics, and his infamous overtone technique. Eddie is primarily drawing his lines from the A minor blues scales and A major blues scales here.

Anyway I hope you have enjoyed this lesson, check back often for new lessons.

]]>http://vancouverguitarlessons.net/2018/10/31/5-awesome-van-halen-endings-4-guitar/feed/0How To Hold A Guitar Pick & MORE!http://vancouverguitarlessons.net/2018/10/19/how-to-hold-a-guitar-pick-more/
http://vancouverguitarlessons.net/2018/10/19/how-to-hold-a-guitar-pick-more/#respondFri, 19 Oct 2018 16:57:57 +0000http://vancouverguitarlessons.net/?p=3232How To Hold A Guitar Pick & MORE! Today I am discussing how to hold a guitar pick, as well as where does the fret hand thumb belong when playing guitar. So like anything, holding a pick is subjective but I have watched a great many players and have noticed a definite similarity between many[...]

Today I am discussing how to hold a guitar pick, as well as where does the fret hand thumb belong when playing guitar.

So like anything, holding a pick is subjective but I have watched a great many players and have noticed a definite similarity between many players with great chops and how they hold a pick.

I like to hold the pick between the pad of the thumb and the side of the index finger if I am playing single note lines. If I am playing chords or strumming, that changes to the pad of the index finger along with the pad of the thumb (see video below). The reason I like this vs holding the pick with 3 fingers or with the middle finger etc. is that I can quickly morph into doing what is called “hybrid picking” (see my videos on that style of picking), or I can tap easily with the middle finger of my pick hand as well.

In the end it is whatever feels right but try the grip I show in the video and see if it feels right.

I have included a lick to get your alternate picking happening. See ex. 1 at the bottom of the text. This should be played on all strings once daily.

Where does my thumb belong when I am playing guitar?

Next up we are talking about the fret hand placement of the thumb. This is a very sticky subject with some practitioners. I remember my first audition to get into music college. I was playing a piece by Joe Pass and on one particular succession of dom13 chords in tritones I used my thumb. After I performed the piece I was informed by the jazzbo audition guy that using the thumb is sacrilege. I was mortified lol! Anyway, I worried about it for about 5 minutes and realized that such pedanticsm really has no place in music and so I say place your thumb wherever it may roam, with parameters of course, such as; if you are playing notes on the lower numbered frets on the thicker strings it is only logical to put the thumb behind the neck to allow the fingers access the notes cleanly. Also if you are doing a bend, the thumb should be over the neck and used as a winch to help the bending fingers bring the note to pitch. I have noticed players that did not do the latter. They always have weaker bends and vibratos than those that use the thumb over the neck.

Ex. 2 is a lick where the thumb starts on top of the neck and gradually ends up behind the neck the the classical tradition.

]]>http://vancouverguitarlessons.net/2018/10/19/how-to-hold-a-guitar-pick-more/feed/05 Iconic Rock Guitar Riffs Lessonhttp://vancouverguitarlessons.net/2018/10/03/5-iconic-rock-guitar-riffs-lesson/
http://vancouverguitarlessons.net/2018/10/03/5-iconic-rock-guitar-riffs-lesson/#respondWed, 03 Oct 2018 06:52:55 +0000http://vancouverguitarlessons.net/?p=32245 Iconic Rock Guitar Riffs Lesson Hey everyone, today I am taking it in a lighter direction and will be teaching you 5 iconic guitar riffs that every guitarist ought to learn and be able to play. Tabulature and video lesson are below explanation. First up is “Sweet Child Of Mine” by Guns & Roses.[...]

Hey everyone, today I am taking it in a lighter direction and will be teaching you 5 iconic guitar riffs that every guitarist ought to learn and be able to play. Tabulature and video lesson are below explanation.

First up is “Sweet Child Of Mine” by Guns & Roses. This riff is basically a pedal point riff (check out my Yngwie lesson for more info on this type of idea) in the key of G but the tonality is D mixolydian, the 5th mode of G major. Pick it all downstrokes if you can as it makes the notes more even. I try to play downstrokes as much as possible as it really does sound better up to a certain tempo threshold.

Figure 2 is “Sweet Home Alabama” by Lynyrd Skynyrd. This riff is also in D mixolydian and this will take some pretty good picking technique to make it happen. Try picking it the same way every single time so your brain can latch onto it faster.

Figure 3 we have “Jumping Jack Flash” by The Rolling Stones. This is in an open G tuning (no big E string, Keith takes it off) with a capo on fret 4. I would suggest counting this and the other riffs if you are a beginner as it really does help get these riffs into the brain as well as training your ear to pick up such rhythms because of familiarity.

Figure 4 is “Purple Haze” by Jimi Hendrix. This one starts off with tritones played by the bass and guitar in combination then moves into a riff drawn from the E minor pentatonic scale. This riff utilizes open strings to facilitate shifting which is a great way to move positionally down or up the fretboard smoothly.

Finally we have “Stairway To Heaven,” which is currently bringing Led Zeppelin troubles as a 2nd trial is about to begin on whether Jimmy Page stole the introduction to the song from “Taurus” by the band Spirit. This riff utilizes what is called a “line cliche” which is when one voice moves chromatically through the same basic chordal background. Try to use a one finger per string type approach for the fingerpicking hand to keep things organized. The toughest change in this is from the C/G chord to the D/F# chord. Make that the focal point of your practice and you will pick the riff up faster.

]]>http://vancouverguitarlessons.net/2018/10/03/5-iconic-rock-guitar-riffs-lesson/feed/010 Hacks To Play Like Yngwie Malmsteenhttp://vancouverguitarlessons.net/2018/09/18/10-hacks-to-play-like-yngwie-malmsteen/
http://vancouverguitarlessons.net/2018/09/18/10-hacks-to-play-like-yngwie-malmsteen/#respondTue, 18 Sep 2018 01:15:40 +0000http://vancouverguitarlessons.net/?p=319610 Hacks To Play Like Yngwie Thanks for joining me, this time we are talking all things Yngwie Malmsteen! Below you will find 19 musical examples, explanations on Yngwie’s technique, theory etc. and a video that demonstrates each example. I have been thinking about doing a video on Yngwie for a long time now[...]

Thanks for joining me, this time we are talking all things Yngwie Malmsteen! Below you will find 19 musical examples, explanations on Yngwie’s technique, theory etc. and a video that demonstrates each example.

I have been thinking about doing a video on Yngwie for a long time now as he has been one guitarist I have always admired from afar but never put much time into learning his licks as it just seemed far too difficult. He played with what seemed like reckless abandon, but with such command and sheer speed and accuracy that he literally dropped the jaws of guitar aficionados around the world when he first arrived in the early 80s. Well, fast forward a few decades and throw in the fact I got a great deal on an used Yngwie Malmsteen Strat from 2006 and here we are. Well, add about 7 months of research, transcribing and practice to that and ya, here we are lol! Anyway, I am very proud to bring you my “10 Hacks To Play Like Yngwie” video lesson. I hope you enjoy it and get as much out of watching as I did in making this video.

1. Effects.

Yngwie is fairly bare bones when it comes to effects. His main overdrive sound is a DOD250 overdrive and he prefers the grey era model (70s) as it has increased bottom end. Live and as evidenced on ‘Black Star,” Yngwie does use delay for an effect similar to that used by Eddie Van Halen on his intrumental “Cathedral.” Yngwie uses a Korg DL-8000R delay unit, but any digital delay will work. For the “Black Star” example I am using a Boss DD3 from the late 1980s. The settings are 100% effect (that means the output of the effect is equal to what is input), a 350ms delay setting and no feedback so just a single repeat.

Another effect Yngwie likes to use sparingly is a Crybaby Wah (I am using my Vox in this example though). He likes to bust this out on his bluesier passages in songs such as “I Don’t Know” and on “Spasebo Blues,” his ode to Hendrixian type blues. Yngwie has used this effect as a filter (as heard on the example) but he also does use as an accent like some of the blues rock greats such as Clapton or Hendrix would use it.

As for amplification, Yngwie uses old Marshall 100 watt ‘plexi’ amps . In this video, I am using a reissue 1959HW. When the tubes fried on that part way through the making of the vid, I moved to my Soldano Hr50+ which seemed to do a good job as well. The guitar Yngwie uses is a scalloped neck Fender Stratocaster and he has 3 different variations of his signature guitar on the market. The guitar I am using is from 2002 (no bullet headstock). Google around and you can check out the reviews of each one. Contrary to what I have seen around the ‘net, I think the scalloped fretboard DOES increase the ability to play faster once you get used to it and it makes sense. Less friction (the fretboard is scooped out between frets) = more efficiency. I definitely notice it.

2. Scales

Yngwie has been known to use harmonic minor, natural minor, pentatonic and blues and even some major and harmonic minor modes, but he primarily sticks to harmonic minor and it’s 5th mode Spanish phrygian. He also does a mixed minor scale where he adds the b7 to the harmonic scale and you can see that in the lick from “We’re Stars” in the “Systematic Picking” section. I wrote the scales out in the fashion he might play them.

3. Systematic picking

Yngwie might seem to be playing super fast and just picking every note, but that is definitely not the case. When you read about him and hear him interviewed, he shrewdly says he is not aware of any pattern he uses, but slow motion video reveals that he is not really being honest about that. Yngwie came up with a system, particularly on descending phrases, that works extremely well with harmonic minor and mixed mode passages. What is the system? Well, when he is playing a fast descending phrase, he almost always alternate picks all notes on a string where an even number of notes are placed and when a group of 3 notes arises he alternate picks the first 2 notes and pulls off the 3rd note. This little move makes it sound like all the notes are picked but that would be far more difficult so it is rather deceptive. This one hint will make playing Yngwie’s riffs much easier if applied the right way. Of course Yngwie does deviate from that approach sometimes, especially if he is cramming notes into a phrase which he is apt to do. In that case he may just pick 1 of the 3 notes or 2 of the 4 notes on any given string.

4. Economy picking

Yngwie uses 3 note per string type scales when ascending and utilizes rest stroke picking , otherwise know as economy picking. There will be 3 pick strokes per string and the last pick stroke is a downstroke which you allow to fall to the next string below (or above if talking pitch). This will save 1 pick stroke per string as the pattern ascends because if it was alternate picked, every second string would end with an upstroke which is a wasted stroke. This allows Yngwie to play very fast when doing ascending phrases.

Only the first lick in the intro to “Trilogy Suite “is economy picked. After that Yngwie moves to a mostly legato approach for the last 2 phrases of the intro.

5. Sequences

A sequence is a rhythmical grouping of notes that is repetetive throughout a passage. Yngwie is very fond of groups of 4 and 6, both ascending and descending. He takes scale fragments and often will have a repeating theme he just moves throughout the scale. These examples are both very typical of patterns Yngwie uses often.

6. Arpeggios

Yngwie has several approaches to arpeggios. One is a full sweep that he will do from the bass E string right through to the treble E string. He also more rarely will pick a note on the ‘A’ string, play 2 notes on the D string (2nd note hammered) and then a sweep the last 3 strings. Another way Yngwie uses arpeggios is a sweep done on 3 strings, usually G to treble E string. He does this very often with the diminished 7 arpeggios he is fond of. Yet another approach is his two string arpeggios where he picks two notes and hammers the 3rd. There are at least 2 other approaches I have seen Yngwie take when approaching arpeggios but to save space I will save them for another lesson.

For the diminished 7th 3 string arpeggios in “Trilogy Suite,” I suggest the fingering pinky on treble E, middle on B string and ring finger on G string. This fingering seems to make the pattern easier to play accurately.

The diminished arpeggios he uses are really interesting and can be used in a variety of places. Theoretically this shape is the 7th chord of harmonic minor, but Yngwie loves to use it on the V chord in harmonic minor and move it around by intervals of a minor 3rd. This makes sense because in case you did not know, diminished 7th chords are symmetrical. That means the intervals are the same throughout the chord (all minor 3rds). The way I think of using this technique is to play it from the 2nd, 4th, b6 and bb7 of the minor key I am in. Another way to look at it is to play it from the b2, 3, 5, or b7 of the V7 chord. When you play this over the Im chord, you play the diminished arpeggio and resolve on a note that belongs to the chord you are playing over. No such resolution needs to happen if you play it over the V7 chord as all the notes are chord tones with a b9 (which sounds wonderful on a dominant 7 chord).

If theory is something you want to understand better then I can definitely help you out. Hit me up for some private lessons and I can help you make sense of this stuff and much more, and you can start to use these techniques in your playing.

7. Pedal Point

Pedal point is a classical music technique where a series of notes in a scale are played against a single note (often the root) of the scale at hand. Yngwie does this all the time. The easiest way to do this is learn a scale on two adjacent strings. Play the root of the scale then descend to the 7th, back to root, then 6th, root, 5th root, etc. That is one example of pedal point that is usable in a lead guitar context.

8. Tapping

Yngwie’s tapping technique pops up now and again in his solos. He likes to use the middle finger of his pick hand while holding the pick to get these notes vs the way EVH uses his index finger while palming the pick. Yngwie is definitely not a hi tech tapper. He uses this technique more as an extension on licks to get a higher note so he can remain in the same position without shifting his left hand.

9. Melodicism

Yngwie is often discussed in terms of being a shredder and little more, but that could not be further from the truth. He can play with melody and feeling as well as any melodic feel player I have ever heard, he just chooses to do it sparingly. This solo in “You Don’t Remember” is a great example, another is the first part of the solo to “Queen in Love.” Very emotional playing and of course, he has to shred at the end because, well, he’s Yngwie lol!

10. Whammy abuse

Yngwie has admitted to being influenced or at least enjoying the playing of Allan Holdsworth, and this example sounds like something Allan might play. The hardest part about this lick is probably trying to feel it AND keeping the strings in tune. I wrote the time into the transcription, but I think that would be a last resort type of thing. Try to feel the phrasing if you can. If you just cannot, then break it down, half a bar at a time, counting if you understand how to read music rhythms. If you really do not know but want to learn, again, seek out an instructor such as myself. I can teach you how to read any rhythm you would ever encounter in music or tabulature.

As for keeping the Fender vibrato in tune, that is a whole other matter. These vibratos are very unstable and so a few precautions you can take to try to keep it in tune better are; releasing the strings from any string trees, putting graphite in the nut slots under strings (a pencil does the trick), using very few windings around the tuning peg, use 3 or 4 springs (Yngwie uses 3). Yngwie floats his bridge about 1/8″ off the body of the guitar and that does add tuning instability, but that is the only way to get the vibrato that he does on single notes (going above and below pitch) with the bar. One other more drastic option is to drill the holes deeper into the tremolo block where the strings go through, but I have never tried that, I have just read about John Suhr doing that for guitarists with Fender trems back in the 80s to help tuning stability. Seems drastic but hey, might be worth a try if you don’t care about perceived vintage value of your guitar.

I hope you have enjoyed this video on Yngwie Malmsteen and I will see you soon!

]]>http://vancouverguitarlessons.net/2018/09/18/10-hacks-to-play-like-yngwie-malmsteen/feed/0How To Mix Arpeggios Into Your Guitar Playinghttp://vancouverguitarlessons.net/2018/06/29/how-to-mix-arpeggios-into-your-guitar-playing/
http://vancouverguitarlessons.net/2018/06/29/how-to-mix-arpeggios-into-your-guitar-playing/#respondFri, 29 Jun 2018 04:23:08 +0000http://vancouverguitarlessons.net/?p=3151Hey everyone, welcome back! Tab and video component to this lesson are below. In this lesson I attempt to demystify making the jump from knowing an arpeggio to actually using it. I find the best way to actually achieve this is to take licks you are already familiar with and then insert these arpeggios into[...]

In this lesson I attempt to demystify making the jump from knowing an arpeggio to actually using it.

I find the best way to actually achieve this is to take licks you are already familiar with and then insert these arpeggios into these licks. I know it sounds easy, but there are many considerations, not the least of which is, what arpeggios go with what licks? Well, there is a simple method you can use that will almost always work and that is, if you are playing over a major triad or even major 7 chord, you can play the minor 7 arpeggio up a major 3rd (2 whole steps) and if you are playing over a minor triad or minor 7 chord you can play a major 7 arpeggio up a minor 3rd (1.5 steps). Of course there are other arpeggios that will work over these chords but start with this simple method to get you going.

Memorize all your minor blues scales in one key (Am is perfectly good) and start coming up with blues licks around them and inserting the arpeggios I go through in this lesson and before you know it, you will be arping your life away!

If this stuff is beyond your comprehension, lessons with a knowledgeable instructor (cough me cough) one on one may be in order.

]]>http://vancouverguitarlessons.net/2018/06/29/how-to-mix-arpeggios-into-your-guitar-playing/feed/0Rock You Like A Hurricane Guitar Solo Lessonhttp://vancouverguitarlessons.net/2018/05/06/rock-you-like-a-hurricane-guitar-solo-lesson/
http://vancouverguitarlessons.net/2018/05/06/rock-you-like-a-hurricane-guitar-solo-lesson/#respondSun, 06 May 2018 22:37:55 +0000http://vancouverguitarlessons.net/?p=3140Rock You Like A Hurricane Guitar Solo Lesson Hey everyone, sorry for the long break, I have been busy with a lot of life stuff but I am back and ready to show you this awesome guitar solo from Rock You Like A Hurricane by the Scorpions. Matthias Jabs is a very underrated guitarist[...]

Hey everyone, sorry for the long break, I have been busy with a lot of life stuff but I am back and ready to show you this awesome guitar solo from Rock You Like A Hurricane by the Scorpions.

Matthias Jabs is a very underrated guitarist and you will see why. This solo has everything a rock guitar solo should have. Melody, techniques (pick harmonics, tapping pick slides, sequences), range, speed etc.

The solo is primarily made up of Em pentatonic scales which are used in various positions throughout the solo with dashes of E dorian mode, E aeolian mode and E blues scales along with some chromatic notes.

I would recommend learning all the above scales as it would facilitate playing this solo easier.

]]>http://vancouverguitarlessons.net/2018/05/06/rock-you-like-a-hurricane-guitar-solo-lesson/feed/0Minor Scales Over Major Chords? WTF?http://vancouverguitarlessons.net/2018/03/18/minor-scales-over-major-chords-wtf/
http://vancouverguitarlessons.net/2018/03/18/minor-scales-over-major-chords-wtf/#commentsSun, 18 Mar 2018 04:57:51 +0000http://vancouverguitarlessons.net/?p=3121Hey everyone, thanks for checking in. Today I am going to discuss why seemingly minor scales work over major chords, and show you 3 licks that blur the lines between major and minor. Let’s jump right in. Ever notice how the minor pentatonic scale seems to work over a major chord of the same name?[...]

]]>Hey everyone, thanks for checking in. Today I am going to discuss why seemingly minor scales work over major chords, and show you 3 licks that blur the lines between major and minor. Let’s jump right in.

Ever notice how the minor pentatonic scale seems to work over a major chord of the same name? ie Am pentatonic over A major chord?

Well, the reason that the minor scale works is because when you play that minor 3rd over a major triad or dominant 7th chord voicing of the same name, you are creating what is called a #9 against the chord. #9 happens to be a very useful tone over major chords, just make sure the chord you are playing over is either a major triad, dominant 7, sus2 or sus4. Major 7 chords need not apply as the dissonance created between the #9, major 3rd and the major 7th is something truly ugly lol!

So again, minor pentatonic scales or blues scales work over major or minor chords. Remember, the reverse is not true. You cannot play a major pentatonic of the same root name over a minor chord.

Anyway, here are a few licks to get you blending #9s and major 3rds. Tab and video below. Happy fretting!

]]>http://vancouverguitarlessons.net/2018/03/18/minor-scales-over-major-chords-wtf/feed/1Easiest Guitar Riffs Ever!http://vancouverguitarlessons.net/2018/03/03/easiest-guitar-riffs-ever/
http://vancouverguitarlessons.net/2018/03/03/easiest-guitar-riffs-ever/#respondSat, 03 Mar 2018 18:40:14 +0000http://vancouverguitarlessons.net/?p=3108Easiest Guitar Riffs Ever! Hey everyone, I figured we would go easy on you this week with some simple, one finger easy guitar riffs. The tab and a lesson video are below. The takeaway from playing these riffs is that they should all be counted verbally in order to play them properly. Once you can[...]

Hey everyone, I figured we would go easy on you this week with some simple, one finger easy guitar riffs.

The tab and a lesson video are below.

The takeaway from playing these riffs is that they should all be counted verbally in order to play them properly. Once you can do that at a slow tempo, set up a metronome and try to play along. This is the best way to build towards playing music with others, which is always a great time.

]]>http://vancouverguitarlessons.net/2018/03/03/easiest-guitar-riffs-ever/feed/0Cliffs Of Dover – Eric Johnson – 1984 ACL performance transcriptionhttp://vancouverguitarlessons.net/2018/02/22/cliffs-dover-eric-johnson-1984-acl-performance-transcription/
http://vancouverguitarlessons.net/2018/02/22/cliffs-dover-eric-johnson-1984-acl-performance-transcription/#commentsThu, 22 Feb 2018 21:51:40 +0000http://vancouverguitarlessons.net/?p=3100Cliffs Of Dover – Eric Johnson – 1984 ACL performance transcription I have recently completed this transcription of one of the most seminal performances ever on the television show Austin City Limits. This was the performance that broke Eric Johnson to the world of guitar music lovers. I have transcribed the improvised solo note for[...]